Influnced by the official uniform system of China, the colour culture of Korea has changed with time. The ancient colour has included the philosophical conception as well as the meaning of thoughts. Forming its tradition, the colour has been accepted in usual life. The philosophy of the Five Elements has been developed in the area of Oriental culture and it has influnced to the colour of costume. The five colours(blue, red, yellow, white and black) as the Five Elements colours have disticted the social position. Owing to the fact, the colour costume has preserved the important meaning. Im accordance with the theory of the Five Elements the five colours of costume told its purpose, social position and age. Moreover the relationship among the Five Elements, the direction and the season have been applied to it with time. Yellow and red have been usually used by kings and high ranking officals. White has been the basic colour for traditional Korean clothes, which has indicated the integrity symbolizing our race. The Five Elements Colours preserving the theory of Korean the Five Elements have been the conception of Korean traditional colour and they have been developing as the meaning of custom.

In the vast extent of time, man and his ancestors have existed on earth about 2,000,000 years. For Near-Man, they knew how to make fire and protected themselves with hairs. Old-Man covered their bodies with the skins of wild animals. New Man improved the quality, the range and ingenuity, so they fabricated clothes with the animal skins. New Man is considered as ancestor of Modern Man. They had spread widely over the earth to take advantage of their surroundings. The next period, New Stone Age was chiefly distinguished by agricultural age. He was now about to make clothes from natural fibers. The two most obvious orgins of clothing are to protect the body against environment and to decorate the body. The forms of clothing were different from the various climates and regions they had settled, for example Yo-po Hyung (Apron), Kwae-po Hung (Sewn garment), Kwan-doo Hyung (Poncho), Chun-kae Hyung (Frontopend garment), Chai-hyung Hyung (Body-conforming shape). Our ancestor had moved from Baikal Lake, Central Asia toward northeast; Shun-tung in China, Manchuria and at last Han Panninsula. Considering our basic costume of ancient times were Yu(jacket), Ko(trousers), Sang(skirt), Po (coat) with the accessories of Kwan (crown), Mo (hat), Dai (belt), Hwa, Eie (footwear), here I conjecture our costume of prehistoric period was Chaihyung Hyung(Body-conforming shape) in the purpose of body covering.

The stone caves in Korea, though they were first influenced by Chinese cave temples, were not made same with their predecessors in style. Nearly all Korean stone caves are the simulated ones built artificially, and they are divided into the following: A. The caves that were made up with several pieces of natural rocks with some wood works done over them to cover the open spaces between the rocks. B. Wood works were added in front of the rock-cut images of Buddha in order to construct the cave. C. The men-made caves Suk-kul-am in Kyung-ju is well-known among the above kind of the caves. In short, Korean stone caves have their distinction in which they were inspired by the Indian and Chinese examples and developed their own styles to meet the specific conditions and restraints of the Korean mountains. The extant Silla cave temples are classified in the following four groups: 1) The type of Shin-sun-sa(神仙寺) at Kyung-ju 2) The type of Ka-heung-ri cave(可興里) at Yong-ju(榮州) 3) The type of Kun-wi cave(軍威) 4) The type of Suk-kul-am(石窟庵) at Kyung-ju

The purpose of this study is to inquire into the influence of appearance cues on the intellectual impression formations, whether there are differences in the impression formation between the case which the appearance is partially percepted and the case wholely percepted. The study consists of the experiment of the factorial design with 5 independent variables of Face (intellectual and social), Hair Style (intellectual and social), Clothing Style (intellectual and social), Textile Pattern(single color, dot, and stripe), and Presentation Level of stimuli(upper-half and full-length). The outcomes of study are as follows: 1) The intellectual impression formation was influenced by face, clothing style, and textile pattern, but clothing style and textile pattern were more influential than face. When the models with intellectual face were in intellectual clothing style, they gave more additional intellectual impression. And when intellectual clothing was in single color, it conveyed more intellectual impression. Hair style had no main effect but it influenced on the impression formation through interaction with other variables. 2) There were differences in the formation of the intellectual impressions between the case the appearance was partially percepted and the cast wholely percepted. The case of full-lenth presentation was more influential than that of upper-half presentation.

A Research on specialty carpet(Rug) in ancient Kurea. Wool carpet culture takes an important part of ancient textile culture in ancient Korea. This research on specialty carpet culture of ancient Korea has been made form the view point of traditional textile history on the basis of historical documents and the collections.

Jin Chung Sa is located Daeyoli, Jigogmyen, Saesangun, Choongchungnamdo, there are equipped a portrait scroll of Jung Chung Sin. And top of the town hill live in his 13th grandson, Jung Jong Sul. There are his portrait scroll and command flag and a suit of mail. According to say, remains was stollen at 1975 and it found again. But helmet thrown in the sea at the present time lceave only photo. Also, Chung Ryul Sa is located Anrakdong, Dongraegu, Pusan city, there are portrait scroll of died at the Dadaepo and Pusan Jin Sung and Dongrae Sung. Same memorial center is display mail of vice-envoy and inspector. Thus, this copy is refer to mail of Jung Chung Sin and Chung Ryul Sa, besides we will study mail production of Chung Ryul Sa possession. Even if they are bad to condition, I found court rank of mail through it. I hope, in the future, at that find a good data.

The aesthetic of traditional Korean costume has been used as one of the design themes in the field of Korean contemporary fashion design for western style clothing. Using the Korean aesthetic comes from the idea that such ethnic beauty could gain an international reputation. The beauty of the Korean costume is rooted in the particular aesthetic consciousness of the Korean people : the aesthetics of nature, personality, the evil''''s eye. and tradition. From an artistic viewpoint, the formative elements are analyzed into the following categories: form including line and shape, color, pattern, materials and ornaments. The aesthetic elements of the costume are transformed into present fashion design through the formative elements of the fashion ; form including line, color, pattern, materials and ornamentation. To express Korean atmosphere, adapting traditional elements such as, needle cases, hinges of furnitures, closing function of big gate are active, As a conclusion, the actual fashion design of adapting Korean beauty are so confined to the original form of Korean Dress that the results of design are tend towards ethnocentric atmosphere. Therefore, to understand and express traditional Korean beauty in contemporary fashion design, one has to keep in mind the aesthetic of the traditional Korean costume. Then one must develop and pursue one''''s own methods of adapting Korean beauty. The sophistication and refinement of fashion design could be accomplished only through the deep appreciation of the Korean culture. The second, the sense of International perspective is needed to be understanded and obtaining public sympathy from an international society. The third, Critics and scholars are the most concerned with promoting Korean fashion at an international level. Korean fashion at an international level. Korean fashion design will only mature with the support of scholars and the theoretical understanding they bring with them. The last, public support including government level is needed to enhence the standand of Korea fashion today.

1. The relationship between Korea and Buk-Song had maintained ofr 164 years(964 1126 A.D). The period of relationship was from KwangJong Year 13(4 years after establishing Buk-Song), Song Tae-Cho 1 year, to HeumJong Cheong Dang 1st year(InJong 4years in Korea). Author divides into three periodic terms, and remarkable diplomatic facts are as follows; 1) KwangJong year 13(963 A.D) SungJong year 13(994 A.D) : Normal relations Song needed Korea's armed support. 2) MokJong year 6(1003 A.D) HyunJong year 9(1018 A.D) : Not steady relations and broke up, by MunJong year 26, Dang requested to resume the diplomatic relations. 3) MunJong year 25(1071 A.D) InJong year 4(1126 A.D) : Song utilized Korea as back supporter, but Song destructed by Keum. 2. Korea was donated knightage without official clothing by BukSong 10 times(KwangJong year 13 SungJong year 11). However during 164 years, Song presented some clothings Korea friendly. 3. Even though Korea cound not continue the steady diplomatic relations, Korea had been influenced the social systems including clothing systems by Dang. Song dynasty. 4. The author studies historical meterials which show that TongilSh-Shinra adapted social systems of dang dynasty including clothing systems, which was succeeded to Korea for 200 years. Details are as follows; 1) Original clothing color-systems which were Ja(purpil), Cehong(blue), Hwang(yellow), Pi, called 4-clored-system, of Tongil-Shinra, was succeeded to Korea. Above mentioned clothing systems was utilized until reunification of three countries of Korean peninsula. 2) When Korean unified the certificate of Pisam holder class from Hoo-Bakjae, and Tongil-Shinra. Korean holders were superior from those of Tongil-Shinra and Hoo-Bachjae. These two classes used same seried-color 'ja, (Dan, Pi), Cheong(blue), Hwang(yellow)', or 'Ja, (Dan, Pi), Cheong' and lasted to KwangJong year 10 as a of ficial clothing. 3) KwangJong year 7, according to the three colored official clothing system of Hooju, accepted Jooju's. KwangJong year 11, that shifted 'Ja, (Dan, Pi), Cheong, Hwang', or, 'Ja, (Dan, Pi) Cheong', to 'Ja, Dan, Pi, Rok(gren)'. 4) The clothing systems which are 'ja, (Dan, Pi), Rok which established KwangJong year 11 shifted to Song's, Ja, Ju(orange), Rok, Cheong, which had happened SungJong year 14 to MokJong 1st year. 5) 4-colored system('Ja, Pi, Rok, Cheong (distictable : sky blue, ocean blue)' shifted to 3-colored system which established Song ShingJong 1st year, which succeeded to Nam-Song and Keum. 5. The relationship between Korea and Yo had maintained for 207 years (918 1125 A.D). The period of relationship was from Taejo 1st year to InJong year 3. 6. Yo, and Korea were called for king(15times), prince (7 times). 7. Korea was donated knightage by Yo. The time when HyunJong year 13, Yo donated official clothing. From that time had used to do. The author divides into three periodic terms and discrives the shifting the formal clothing systems. details were as follows; 1) HyunJong year 13 MunJong year 8 : Even donating clothing systems from Yo had maintained for 35 years, Y대, Song, Yo, three countries had not have formal clothing, because they had been on the struggling. So that Korea had followed the same way of informal clothing. 2) MunJong year 9 18 : Yo donated the formal clothings to Korea for the King. diplomatic condition was in the control, so that whole three countries used formal clothing. 3) MunJong year 19 YeaJong year 3 : Korea was donated 'Kuryumyun Kujangbokje', which became the formal clothings vs China.

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

The purpose of this research was to utilize of Pattern Design System(P.D.S) by using AM-300 CAD SYSTEM, tried seaming and grading. The conclusion were like these: 1. A coat of basic pattern was selected by design sketch. 2. The basic pattern was input into computer by digitizing. 3. The basic pattern was change into designed shape by using various skills. This system were enabled to draw straight lines, curves, delete lines, sections of lines, extend lines, cut pattern into sections, measure line or section reproduce whole pattern shape of section, rotate and mirror pattern and complete patterns. 4. Automatic grading of finished master pattern have been developed by creation and modification of grading rules of basic pattern. 5. Production pattern added seam allowance, notches was generated by P.D.S menu option. 6. Finished pattern design was plotted out 100% and 20% size by AM-300 Plotter. This results will be the basic materials to develop the CAD SYSTEM if some problems were improve. Furthermore, the utilization of P.D.S is expected to be developing in pattern making process.

The concept of style provides a useful structure in history of Art. In aspect of formative art, dress and art work are alike, so style is a useful concept in the historical methodology on dress. The main purpose of this study was to apply the art criticism to the historical methodology on dress. For this purpose, documentary studies about style as a tool of historical research were proceeded. The results were as follows : 1. The concept of style consists of the external form and the internal meaning as double roots. Therefore, it''''s indispensable that the two aspects of style, form and meaning, must to be harmonized to describe the historical phenomena in dress. 2. The change pattern of style jin dress is not always predeterminate and regular according to the cyclical theory. From the alternative point of view, the change pattern of style could be to describe the continuous theory proposed by kroeber, Brodsky. The whole change of style is considered "liked solution" by this theory.

I referred to documents to study the origin and the progressing process of textiles. Cotton seeds were first imported from China by Mun, Ik Jem at the end of the era of Koryeo, and cotton had several different names such as mok-myen, cho-myen, gil-pae, baek-chep-za, tap-po, ban-ki-wha, dong-yep-po and so on. Since the era of the Three Kingdoms, people had heard of cloth of superior quality but it was not certain whether it was imported from China or made in our country. It seems that cotton was not made during that period, white silk, hemp cloth, and ramie fabric were produced. At that time, linen was called cotton by mistake. After importing cotton seeds from China, all the people began to plant them and made their clothes from them. At the beginning of the Yi Dynasty, the weaving technique was dependent on China. However, the government persuaded farmers to plant them. At that time cotton was used as a means of purchasing instead of money. Silkworms raising started during the era of the Three Kingdoms and it was widely spread at the beginning of the Yi Dynasty. In order to encourage sericulture' spinning and weaving instruments were installed in the royal palace and the queen with sher court maids demonstrated how to spin and weave. The activity was named "chin-jam-ye." Linen was the representative of all textiles and it was also very popular. The technique of weaving had already been highly developed at the era of Silla. During the era of the Three Kingdoms people used "bang-chu-cha" as a weaving instrument. They discovered several new hand machines in the period of the Yi Dynasty: they were instrument of removing seeds, spinning wheel, hemp cloth loom and so on, and we find the remains of them these days.

The Purpose of this study was to identify the constructing factors of female suit image. The questionnaire consisted of 69 words expressing suit image were developed, and six suit slides were selected for stimulus. Sixty-eight female university students majored in clothing and textiles were responded to each sledes, and then factor analysis was conducted. Six factors, such as attractiveness, peculiarity, grace, femininity, youthfullness, and comfort were found out as constructing factors of suit image(total variance 60.5%) by the principal component analysis. The attractiveness factor which explained the largest variance included words such as countrified, refinement, and beautiful. Peculiarity factor included words such as peculiar, bold, complex, and decorative. Grace factor included words such as classic grace, and elegant. Femininity factor included such as masculine, feminine, soft, and dressy. Youthfullness factor included words such as youth, bright, and charming, And comfort factor included words such as casual, comfortable, active, and natural. The Cronbach''s of the each factors were. 78~92.

The clothing industry is going through very rapid and innovative automation in almost all processes from the initial design of clothing to the dispatch of the products to the retailer. Educational bodies in teaching clothing and textile techniques should offer courses that enable students to grasp the concepts and potential of automation so that they can confidently cope with further development when they enter the real world of the clothing and textile industry. The article suggests how and what to teach about automation and, gives an overview of the current state of automation in the field of clothing and textiles. What to Teach about Automation. What is the automation of the clothing industry\ulcorner The benefits of, and obstacles to automation in the clothing industry. How to automate the manufacturing process. Recent developments in automation machinery. How to Teach about Automation. Install available machinery at the educational institute and train the students. Practical 'in the field' work experience. Visite to textile machinery exhibitions and industrial sites. Using audio-visual methods. Participation in research projects to develop automatic systems.

Signifying clothes can be defined as a process in which a clothes obtains a symbolic meaning by confining its use and purpose. In this paper we catagorize the process of signifying clothes that appears in the Byongkut as follows : first removing the clothes, secondly putting on the clothes, and thirdly burning off the clothes. Removing the clothes is a process of dramatic realization and clearly shows proven facts about the things that will occur in the process. Putting on the clothes is a process of falsified expression in which the interest is transferred from the person who wears the clothes to the clothes itself by the shaman''''s insinuation who leads an interpretation about the clothes. Burning off the clothes is a proves of mystification in which the end of Byongkut is sublimated mistiriously by making the participants believe with the burning that the clothes and the diseases have been curred, and therefore, the ritual is kept from spoiling. The clothes used in Byongkut that religious belief and belied system are expressed through behavior style, and that supernatural power is designed to reveal is related with the various aspects of symbolic life indicated by the clothes.

This study is to research and analyse the Musicians' Costumes in Yi dynasty. Each costume for the musicians was, at that time, different in its design and style in accordance with what class the musicians were belonging to and what ceremony they were playing for, and the form and substance of them were changed according to the ages. In the early of Yi dynasty, the musicians wore their costumes imitated from the Song dynasty's. Especially in the 13th year of King Sae-Jong(1431), they divided the costumes into A-ag-Seo Jeon-ag Gwan-bog(雅樂署 典樂冠服) and Jeon-ag-Seo Gwan-bog(典樂署冠服). Meanwhile the musicians had to put on their different kinds of costumes according to the sorts of ceremonies they were playing for since January of the 16th year of king Sae-Jong(1434). It is widely known that confucianism was made a national policy in Yi dynasty. Compared the musicians' costumes for sacrificial rituals, however, with those for every kind of ceremony, one was simpler and shabbier without any strictly established forms than the other. At the same time, the musicians' costumes for ceremonies were, instead, designed in more gorgeous forms; it means that the sacrificial ritual was very lightly dealt at that time. It is very difficult to define, by standard pictures the whole style and form of the musicians' costumes in Yi dynasty in this study. Since we haven't shown any examples of the costumes, this attempt will be keepful.

This thesis researched the ritual dress of Korean new religions such as Suungyo, Mirubulgyo, Taejonggyo and WonBuddhism, According to kind, color, cloth and shape this thesis analyzed the ritual dress of them on the basis of its literatures. I. The results of the ritual dress of them through its literatures are as follows: 1. In case of Suungyo, there are Songwansonbok, Togwandobok, Pulmogwan, Ch''''onui, Chap''''ae , Yukhwangang, Pobdae, Hakp''''yo and Kyonjang in its kind. In its color there are Huk, Cha, Hoe, Chahwang, Hong, Paek, Hwang, ROk, and Nam. Chemical fiber with one layer is used in its cloth. Its shape is made by a comprise between the feature of Korean dress, chuui and that of the existing dress of Confucianim, Buddhism and Taoism. 2. In case of Mirukbulgyo, Inhwag-wan, Chongbok, P''''oui, Tae, Moson, Yomju and tanju are systematized in its kind. In its color there are Paek, Huk, ch''''ong,Chok, Ok and Rok, Kongdan and chemical fiber with one layer are used in its cloth. Its shape has a symbolic form of Yu''''Pul and son based upon Korean dress, Chuui. In its symbol Inhwagwan symbolized Confucianism and Chongbok Taoism and P''''oui Buddhism. 3. In case of Taejonggyo, there are Chusabok, Sjhobok, Yewonbok, Chusamo, Yewonmo, Tae and Hwa in its kind. In its color there are Paek(main one), Nam, Huk, Chaju, Chok, Hwang and Hoe. Kongdan with both sides is elaborately used in its cloth. Its shape thken from Korean dress means the succession of the national spirit of the white-clad folk. 4. In case of won Buddhism, there are kybok and Pobrak in its kind. In its color there are Paek, Huk and Hoe---especially, both Hwangt''''o and Hwang are used in Pobrak, Anyone can use cloth at his will. In its shape Kyoblk for man is Yangbok and Kyobok for woman is Tongch''''ima and Chogori, a style of Korean dress. Pobrak is a form Tanryong worm with Rakja.

The purpose of this study is to clarify the adaptation f traditional beauty of dress in Baek Eui for the establishment of tradition of dress culture. Especially, the color of the traditional dress represent a symbol which is connected with the national character and the environment. But it is hard to examine closely because color preference are transformed with the times. This study is framed within the limits of the next themes : the philosophical theory of the next themes: the origin, history and meaning of the Baek Eui ; the philosophical theory of cosmic Five Element and the Prohibition of Baek Eui ; the beauty of Baek Eui. As the national character is indicative of the conservativeness and the purity, Koreans have kept up wearing Baek Eui in spite of the occasional prohibition. Since the color of the dress representatived the signs of the social class and the power, over the eighty persent of the common people put on the Baek Eui ; ramie and flax fabrics that has it''''s own color in Chosun-Dynasty. I think that the use of natural color harmony is prominent and the beauty of Baek Eui is the naturality and the non-artificiality. The meaning of the symbol on the Korean Beak Eui is the divinity, the holiness, the purity, the cleanliness, the modesty, the frugality, the integrity, the constancy, the elegance, the simplicity.

West African''''s traditional looms, weaving and raw materials, structural patterning, dyeing and basic forms of dress were examines in the present study in order to deepen the appreciation of the cultural heritage of West Africa, and to make a contribution to the policy planning for export market developing The research method employed was the analysis f written materials. The study was limited to the traditional clothing habit which is preserved and practicing by them at the present day and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) They have vertical single-heddle loom horizontal or ground single-heddle loom, and double-heddle loom. The width of the cloth produced on the single-heddle loom varies about 38.5cm to 123cm and double-heddle looms all produced on the single-heddle looms all produced narrow strips of cloth varying in width from about 1.3cm to 75cm, although the average is about 10-20cm. (2) Despite the relative simplicity of the llom technology a remarkable variety of textiles are produced. (3) The most popular decorative technique in West African compound weaves is extra-weft patterning which is produced on both single-heddle and double-heddle loom by men and women weavers. Other forms of secondary patterning on textiles in West Africa are dyeing, applique, patchwork and embroidery. (4) Two basic forms of dress have spread throughout West Africa, the poncho (bpibpi) and the wrapper. Some versions of these basic forms are supplemented by western inspired trousers, shirts and blouses coupled with accessories usually complete their traditional outfits. They have a great variety of basic poncho, like as Khasa, Gandura, Tuareg-poncho, Babariga, Rigas (agba-da), Grand-boubou, Afteck, Tagua, buba, Danshike etc. Although West Africa has long been in contact with the peoples of the Nile region as well as the Maghreb and Sahara, both the boubou styles and the wrapper styles appear to have developed with a minimum of outside influence. African Islam was the principal agent for the diffusion of the boubou styles.

In Koryo Dynasty, during the reign of uijong, Choe Yun-ui and others countries collected the royal orders of the Koryo kings and adopted the Tang institutions, and compiled 50 volumes of a book, called "Detailed Ceremonies of Old and New." Recording about clothing, with a special focus on dress and its ornaments of armed vassals, when they attend the king while he is conducting his business. 1) As for the headgear's were the Pokdu, Moja, Kwan, Tumo (official hat to be worn with armors) and Malye (for protection against the cold). There were II kinds of headgear's name in all. 2) As for the clothes, (1) Kongbok (formal costume) (2) Dress, there were 34 kinds of clothes name differented by (i) flowerage on clothes (ii) size of sleeves (iii) color of clothes (iv) fabrics (v) the belt used with the dress. Others were; (3) Baeja (4) Hansam, (5) Poto, and (6) Armor. 3) As for colors of clothes, there were (i) Purple, (ii) Red(Scarlet), (iii) Green, (iv) Blue, (v) Yellow, (vi) Black and (vii) White. 4) As for materials, there were (i) Kum, Ra, Sa (all kinds of silk), (ii) Iron and (iii) Leather. 5) For belts, there were (i) Sockdae, (ii) Hongjung, (iii) Kayeundae, (iv) Dongdokum-dae, (v) Jojung and (vi) Dongshimsokdae.

The research, aiming an automatic pattern design of Korean Costume by utilizing CAD system, tried Grading, Seaming and Marking with a theme of girl''''s color-strip blouse & skirt. The content & conclusion of the research can be outlined as follows; 1) As we reviewed the current situation of Korean costume which becomes more likely celebrational or festival costume, while the demand of it is getting increase, it''''s being dealt mostly as ready-made dresses with different qualities & designs. Especially childrens ready-made ones were highly demanded to be picked up as the theme. 2) For the original drawing of children''''s color-strip blouse & skirt, Kyung-Ja Park''''s drawing method was used here, and for the substitute of particular body parts absolute size, Joo-Won Lee''''s standard size chart from a size-study by ages. 3) To work with CAD system we had input master pattern, drawn for age 5 as basic size, then graded six step-sizes for 1-11 years old. For add-subtract of particular body parts size, we graded through computing the standard variation among items to get the pattern developed into ready-made standard size, we can make precise plotting by grading wanted size very rapidly if we correct the rule of changed items different from standard size to make utilization possible enough with easy order method of ready-made Korean Dress. 4) We produced Marker after attaching a margin to seam accordingly by parts for each pattern using P/D/S to mark, In mass gament-cutting, the loss of time and material can minimized. In this research the apparel CAD system which has been utilized and only be western fashion industry was introduced for the design of ready-made Korean costume and utilized it in Grading, Marking which are critical steps to improve productivity and have reported the result in the research. Thus we expect that less cost, improved productivity and better quality with minimized loss of material from marking as well as from prompt and precise size-drawing. Furthermore the utilization of CAD system is considered as an effective one in terms of the research & the development to remove effective one in terms of the research & the development to remove irrational elements in the design and production process of Korean costume as well as in terms of the study of Korean Costume development through creative works of Korean Costume.

This thesis was designed to study Symbolics of Chinese Liturgical Vestments. Chinese who regarded the life of human beings as the combination of heaven and earth considered garments as the traditional product of the movement of nature. Accordingly, they thought human beings are the center of the universe composed by heaven and earth and the chief of all things; therefore man only can utilize clothes to distinguish from all of the colours. This views of clothes led to the development of liturgical vestments esteemed courtesy than anything else, especially the thought of courtesy associated with Conficius who regarded courtesy as the highest things and since then the theory of Five Elements and courtesy were inherited by all the adherents of Conficius. Yin and Yang Five Elements in the liturgical vestments was given absolute symbolics in both formative side and in colourful side. results of research studied in this was can be summed up as follows : 1. The crown of rites was made imitating after the system of head, horn, beard, bread of birds and beasts and that form of crown is front-circ-ular and back-rectangular meant to be towards light and dark. That the upper part of faceplace is black represented the way of heaven and lower part of red symbolized the way of earth. 2. Upper vestment of liturgical rites symbolizes heaven and outskirt represented earth. So front of outskirt is YANG and back is Yin. It is why then are going to harmonize positive and negative making front part three width and back part four width. Therefore, emperor who symbolizes heaven made the subjects recognize high and low and wore Dae-gu(大 ), Kon-bok(袞服), Bel-bok, Chui-bok, and Hyonbok according to the object and position of rites so that he may rule the country based on courtesy. 3. As an accessory of liturgical vestments, Bul, Pae-ok, Su, Dae-dai, Hyok-Dai, Kyu, and Hol were used. Before Bul was used man dressed skirt as the first waist-dress in order to conceal intimate part of the body. Pae-ok, as decoration blended with jade was worn by men of virtue, so men of virtue symbolized morality and virtue by Pae-ok. Su began from Yeok, connected with Pae-su , in Chou-dynasty is said to be originated by practical needs and they are divided into large Su and small su, and maintained as decoration to signify the class positions. Dae-dai did the work as not to loose the liturgical vestments and leather belt hang Bul and Su to begin as the function of practical use are in later years it became decoration to symboliz e the class position. Kyu was a jade used when empeor nominated feudal lords and observe ceremony to God and Hol, was held in hands to record everything not to forget. These Kyu and Hol became to offer courtesy during the time of rites and in later years it became used according to class position rather than practical use. 4. As far as colours are concerned, colours based by five colours according to YIN-YANG Five Elements theory and they were divided into a primary colour and a secondary colours. Primary colours corresponded with the theory of Five Elements each other, Blue, Red, Tellow, White, and Black symbolized ive Elements, five hour space, five directions, and five emperors. Secondary colours contradict with Blue, Red, Yellow, White and Black and another as a primary colour and they are Green, Scaret, Indigo, Violet, Hun colour, Chu colour, and Chi colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour as primary colour and outskirt was used Hun colour as secondary colours. Thus symbolism in chinese liturgical vestments mainly began with heaven and earth and corresponded with YIN-YANG Five Elements Scool. They were developed as the scholary theory and Conficius and his followers in the later days and continued up to Min-dynasty.

"Jung Ri Eui Kwae" is the book, illustrated and recorded with court coutesy and manners during the King, Jung Jo's honoured coming to his own father's royal tomb "Hyun Ryung Won" of Sa Do Seh Ja(The Crown Prince to be mourned) with his own mother Hae Kyung Koong Mrs. Hong. According to this book, we can see the costumes and its ornaments of the civil and military officials and also of Yu Ryung(the maden court musician) and Dong Ki (a young Kisaeng girl) during serving at Bong Soo Dang bangquet celebrating his own mother's 60th birthday anniversary. It is interesting to review once more the royal ceremonies representing the portion of the costumes and its ornaments in the 18th century of the Yi Dynasty, Yung-Jung Jo era that is to be thought the reform period in almost every field of social system.

The purposes of this research are firstly to define the characteristics of movement on the costume, secondly to demonstrate that fine art, expecially in relation to kinetic art, has become a good motif in modern costume design, and thirdly to examin in characteristics of movement as shown in modern costume design. For this study, we selected and analyzed some costume designs among those introdued in fashion magazines, which are Collections, Fashion-Preview, Fashion Show, Collezioni, and L''''Officiel that have been issues since 1988. As this research is carried out only through the analysis of pictures, it is not accompanied by a study on material itself. The result of this study is that the expression of movement on modern fashion can be shown in two ways, one is the inclusive and subordinate movement expressed on the clothing according to the motion of body when they are worn, and the other is the movement caused by the very designs of clothing. And the latter can be also divided in two ways, the illusionistic movement and the actual movement. The expression of actual movement is made through the emphasis of direction, rhythm, and dimension on the costume. And the illusionistic movement is expressed by the design to which the textile pattern or reflection of light is applied so that the movement is larger than the actual movement. A sense of direction expressed on the costume by the actual movement creates a light rhythm and adds interest to the costume. This reflects a part of psychology of modern men who are not accustomed to the statics. In the rapidly changing society of information our modern men seek after movement even in the statics. It is also true in the clothing and they seem to get a psychological rest through the immediate visual change as shown in fashion design. The simple and cheerful rhythm expressed by the illusionistic movement on the costume is attempted in order to overcome the static tediousness caused by simple design. These elements of movement cause the enlargement of visible range and create another enlarged shape other than the real one, so that they come to remove the dullness and monotony in costume design and provoke interest in costume, as if kinetic art reveals the various aspects that transcend the closed area of fine art upon the motif of ''''movement''''. Finally, as this paper deals with the expression of movement as shown in the costume design which prevailed after 1988, it is desirable hereafter to study more about the fashion since 1950 when kinetic art began in earnest, along with the comparative study on the expression of movement in our Korean designer''''s and foreign designer''''s works.

Sonia Delaunay''''s was among the group of avant-garde artists drawn to Paris in the early part of this century who were exploring concepts of art that were felt to capture best the speed and me chanization of the modern world. She believed modernity-and her own attitude toward modern life-could be expressed through the primacy of color in art and the dynamic inter-play of its dissonances and harmonies. The metaphysical implications delauny felt inherent in this idea made it applicable to all surfaces, and she was compelled to transform the world around her according to it. She set up s dialogue between fine art and everyday objects and accomplished the transition from representation work to her color theory through her investigation in embroidery and collage. This study is for Sonia delaunay''''s field of work which is close to fine and applied arts. To study Sonia Delaunay''''s work, I can field some points of her fashion designs. First, Simultaneous, which is to use collage techenics such as simultaneous and meterial to combinate of variety meterial Seound, durability which is restoration of modern fashion. Eventhough her work is 60 years old still it is forward to the future. Imitation of textile which is developed by her, always looks new and fresh. Third, The elements of Folklore. Her elements of Russia, it appears on variety colors. Sepecially contemporary clothes has elements of folklore, we should use it and made it to suituble to contemporary fashion of our country. For the future, we need study how to apply pictorial meterial of art into fashion design.

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks'''' dancing costumes for the traditional Buddhist ceremony of ''''Spirit Vulture Peak''''(The Intangible Cultural Asset No.50.) Here, the ''''Spirit Vulture Peak Ceremony'''' is a kind of Buddhist ceremony commemorating the Buddha''''s preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun''''Moon designs or ''''Om/Nan'''' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include ''''the Dae-ryung (meaning great peake)loose mantle'''', ''''the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character ''''Ryung'''' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

Various ceremonial flags were of great importance to the rulers who wished to have the absolute authorities for governing the people. Perhaps nothing indicated the ideas, thoughts and symbols of a certain period and people than the ceremonial flags. The ceremonial flags used in the old China and Korea took the shapes of the heaven and the earth, representing the social backgrounds and thoughts. This study was limited only to the discussion of the heaven-shaped patterns of the ceremonial flags. The 28 constellations of the heaven, in the Oriental way of thinking, were considered to express the immortal powers of Providence and the political domination of the earth. Hence the Polaris, the center of the heaven, symbolized the whole family of king, prince, child born of a concubine and royal harem. Among the constellation pictures were those of Han period, wall painting of old tombs in Koguryeo kingdom and old Japanese kingdom. Referring to the Emperor's ceremonial flags in Daemyeongjibyei, symbolic meanings changed historically and the complete systems of the ceremonial flags were established in Song period when the divine person was drawn on the flags. Animals concerned properly with the particular star and the shapes of the star were both drawn on the flags in Won period and only the shapes of the particular star in Myeong period. In the Imperial enthronement of Kojong the ceremonial flags might be made by the examples of those of Myeong period and remains are now found at Changdeok Palace, which need a further study because the references in detail are not available.

The purpose of this study is to systematize the theory of the Fashion Marketing and merchandising system as well as the strategy for the Marketing based on the related variable. furthermore, this study deals with development of the marketing strategy with respect to the relation between consumers and industry. The content conclusion on the research can be outlined as follows; 1. In order to investigate how the life-style of consumers affects their sense of fashion, awareness of brand, and decision making process of purchase, the life-style of women consumers is classified into 15 types. (1)According to the different life-style types, and important difference is found in the consumers'''' sense of clothes, a unique image of outfit and its own favorite image of womanliness. (2)The consumers'''' awareness of a particular brand has a reasonable relationship with their brand preference and possession of the brands. (3)Their is an important discrimination according to the life-style types in their brand awareness and preference and possesion of brands. (4)The consumers of each life-style type show noticeable difference I the decision making process of purchase including he motive of purchase, the source of information, the cause of purchase intention, price, the frequency of purchase and the degree of satisfaction of purchased goods. 2. The merchandising system and the market positioning among the fashion industry are compared and analyzed in the following terms ; (1-1)For the purpose of establishing the target market strategy, the industry used unreasenalbe methods to analyze the life-style of the target customers and the real customers(36%) and the aging phenomenon of brands is remarkable : as much as 37% of brands show over 5 years-old age gap. (1-2)The price setting process depends highly on the cost-plus approach. (1-3)In color planning, too many colors are used in every season (the average number is 22.3) and the investigation of the consumers'''' favorite color is neglected. (1-4)The manufacturers of successful brands are much likely to employ the textile designer and allow them to develop the various fabrication. (1-5)The regular rate of sales in each season is extremely low(56.04%) : the rate of the successful brands is relatively high at 65%, but that of the unsuccessful as low as 515. (1-6)47% of brands reveal the designer-oriented fashion merchandising system. The successful brands, on the other hand, show a high rate of merchandiser oriented system. (2)Since the brand positioning is highly centered on each brand image, styles and target age, the new data are presented in this study for the new market development. (3)To set up the target market, the mapping of images between the differentiated market and the consumers is suggested according to the market positioning of industry and 15 types of the life-styles of consumers.

Since Korea opened the door to the Western World, traditional costume has changed. The factors of change are as follows: 1) Cultural diffusion by the cultural contact is the foundamental factor of the costume change. 2) The government made edicts of clothing reform. The formal dresses of government official were simplified several times, the edict was issued for men to cut off their hair, and military uniform and government officials' dresses were west-ernized. 3) The diffusion of modernized education by the missionary school accerlerated clothing change. Students were ahead of the abolition of Suege-Chima (which is a sort of veil used to conceal woman's face). 4) The change in the activity of women in society made the women's dresses more convenient for action. 5) The open class system and social agitation speeded up the rate of change. During the Yi Dynasty class distinction was rigid, but the government made the laws which abolished the class distiction.

During the period of 3rd Tae-Jong and 4th Se-Jong, Yi Dynasty has established sound basis for ruling power and aristocratic social cast system. And the regulation for official dress has also been firmly established during the same period. The establishment of KWAN BOK SACK (Office of Hat-Dress) in 16th year of Tae-Jong (1416 A.D.) and the enforcement of KWAN BOK JI JAE (System of Hat and Dress) in 8th year of Se-Jong(1426 A.D) indicates the completion of system of official dress in the dynasty. In this study, the author tried to find out the concept of color in the ruling society since the concept of color in KWAN BOK JI JAE, which is the social reglation in the fendal dynasty, had greatly been influenced by these class of people. Effort has also been given to investigate what motivated the establishment and enforcement of KWAN BOK JI JAE, through the descriptions revealed in SE-JONG SILLOK. It can be concluded in the first that, in KWAN BOK JI JAE no new color concept appeared and its significance only remains on the fact that it establshed the social regulations which were existed before. And secondly, the works of Se-Jong in KWAN BOK JI JAE, in contrast to his magnificance in other fields, only showed great influence of toadyism (Chinese culture).

This study was conducted to clarify the formativeness of Cezanne's painting and it's influence on the Modern Fashion. Recently, fashion was introduced and applied the originality of paintings into the fabric and fashion designing. To go with the current of the times I already discussed about the Modern Fashion under the influence of the color of Impressionism and N대-Impressionism in the previous paper. In this study, Cezanne's painting and it's influence on the Modern fashion was investigated. As one of the original Impressionist, Paul Cez anne had been so adversely affected by the critical attack on his contributions to the 1874 and 1877 exhibitions that he never again showed with the group. That is, he was the first Impressionist to become dissatisfied with the superficial recording of atmospheric effects. When he turned to nature, it was not simply to depict the objects that occupied a given site but rather to consider relationships among those objects. Cezanne attempted to track down the fundamental laws of geometrical prototypes of sphere, prism and corn. Color too, he found, could be employed according to principle, like the tones of a musical scale. Throughout the Modern Fashion, various forms of Bustle style dress and geometrical style dress were reappered under the influence of the Cez anne's painting technique. And the order and the unity of all nature was illuminated on the fashion's pattern.

In 1895(32nd year of King Ko-Jong), Kyung-moo-chung as westernized police system was established and the uniform of the police developed. Regarding to the Uniform of the Kyung-bu-dai-sin(the Minister Kyung-bu) and to that of the Sun-gum(the low position of the Kyung-bu police), the Kyung-bu costume(Uniform of the police) is divided as Ye-bok(Formal uniform) and Sang-bok(Informal uniform). Ye-bok(Formal uniform) is put on in the case of the law described, and Sang-bok(Informal uniform) is an everyday wear. Ye-bok(Formal uniform) is composed of Ye-mo(hat), Eui(jacket), Go(trousers), Dai(decorative belt), Do(decorative sword), and Hwa(footwear). Sang-bok(Informal uniform) is composed of Sang-mo(hat), Eui(jacket), Go(trousers), and Hwa(footwear). Differences between Sang-bok(Informal uniform) and Ye-bok(Formal uniform) is the materials of the ornament, numbers of the decorative lines. Ye-bok(Formal uniform) has more grandeur[ornament. A historic changes in the Kyung-bu costume(Uniform of the police) during the late of Yi Dynasty was little but the decorative materials and the numbers of the decorative line.

In the history of fashion, few designers have interpreted the background of the time more accurately and energetically than did Elsa Schiaparelli. She understood the new role of women and believed clothes should suit one''''s life style. Schiaparelli begun with sportswear, later included suits and dresses. She produced them of great elegance and extreme chic. Simplicity of line was the key to her distinctive and elegant silhouette. Even her simplest designs had elegance. Her concept of clothes was architectual : the more the plane of the body were respected, the more the garment acquired vitality. Schiaparelli combined her knowledge, timing, and sense of daring in the presentation of her designs, colors, fabrics, and embroideries. For V, the garment was not only the medium for the couturier''''s craft but also the place for artistic expression. Her self-conscious equation of designer''''s objectives with that of artist is at the heart of her work. Schiaparelli''''s work is an expression of desire, not merely of design.

This study concerns Jeugo-ris' collar patterns according to the pictures of the actual measurement of the bequests in Yi dynasty. In early Yi dynasty not only outside collar but also inside collar was the Mog-pan collar. In middle Yi dynasty many Jeugo-ris' bequests has been discovered. The form of the collar was various In before and after the 1590's, the Mog-pan collar and Kal-collar, Dang-ko callar was coexisted. But after the 1700's Jeugo-ris' collar pattern was fixed to the Dang-ko collar. In early and middle Yi dynasty the width of the collar was three or four times as wide as it on these days. In late Yi dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. The same thing as the form of the collar on these days had been appeared from the 1900's.

As a part of study examining Korean costume remaining in Yanbian China, this study explored changes in ceremonial clothing for marriage worn by Korean(Chosun race) in Yanbian China. About one hundred years ago, Koreans moved to Yanbian China and had worn traditional clothing for marriage ceremony until before 1940. Data were collected by true interview and field observation while staying in that area. Samo and Dalyung for bridegrooms, Wonsam and Jockdoory for bridegrooms, wonsam and Jockdoory for brides were usual costume for wedding ceremony, however, for couples in inferior conditions of life, Bazy and Jeogory for bridegrooms, yellow Jeogory and red Chima for brides were accepted for ceremonial costume. As western culture came to this area in about 1940, bridegrooms wore western style suit, while brides dress in white Chima, Jeogory and Neowool. To date, Korean brides have worn traditional Chima and Jeogory for marriage ceremony though slight change has occurred in clothing material and in the forms of Chima, Geogory and Neowool. As the pratice reflected the fact that Korean in Yanbian China as established and sustained traditional China as established and sustained traditional costume and Korean identity even in hush socio-cultural environment.

palestein had been a part of Islamic culture before Israel was established after World War II and their daily lives had been totally affected by the Korean, Consequently, the idea of clothing, types of women clothes and it''''s characteristics reflected in the Koran have been studied and the results are as follows: First, the idea of clothing reflected in the Koran emphasizes the equality of the sexed and treats women as men''''s equal partner. Second, in the Koran there is almost no reference on men''''s clothes, but it only recommends women to wear veil to cover their faces and bodies when they go out. The Koran argues that it is not to restrict women but to protect them. Third, due to it''''s geographical location, Palestinian clothes had been affected by it''''s neighboring areas, and the gumbaz-a kind of coat - is one of the examples of Turkish origin. In the beginning the gumbaz had been worn by upper class Palestinian women and subsquently by urban Nazareth women. They used to slip on gumbaz on their heads and shoulders. Fourth, In Palestein they wore jacket over coat or dress. The emboridered jacket from Bethlehem was mostly worn their wedding dress. Fifth, the headdress and face-veil in Palestein are the most unique ones and married women decorated headdress and face-veil with gold or silver coins which they received as wedding presents, and wrapped all their coin decorations in black cloth when husbands are dead. Bedouins decorated not only with coins but also with shells, buttons, stones and beads to articulate their chastity, social status, aestheticism, religion and magic.

The present research analyzed the social meaning of Korean clothing in women''''s magazine. The data were included the advertisements and publicity related to Korean clothing in two women''''s magazines and condensed at 5 year intervals with content analysis. The identified 276 advertisements and publicity were categorized into four areas. The categories were the trend of exterior growth of advertisements and publicity, appeals and approach, the elements of advertisements and publicity including background, the relation of models, situations, and styles of Korean clothing over times. The results of the study were as Follows: 1. In conjunction with external growth of advertisements and publicity of Korean clothing, the social meaning of Korean clothing has changed from ceremonial clothing to daily-wear clothing. Especially since 1980, the theme of advertisement and publicity of Korean clothing were changed form the beauty of traditional Korean clothing such as grace of dignity to the individuality which was the typical value of western Clothing. 2. The trends of appeals related to Korean clothing and applied Korean clothing have reflected the changing time and society. Since 1980, the emotional or mixed approach with metaphor have increased, whereas factual or situational approach were dominated in 1960s and 1970s. 3. The styles including silhouette, detail, textile and pattern of Korean clothing and applied Korean clothing also reflected the changing trends of Korean society. Especially since 1980, the applied style of Korean clothing has adopted the trends of western clothing. Implications for the future research were suggested.

This study focuses upon the custom of the headgear as a part of historical research on our traditional student uniform. It covers from Sam Kuk period(三國鼎立時代) of which we have found written records of formal education through the period under Japanese colonialism: The followings briefly summerizes the results of this study; 1) The educational civilization. The formalism of national education had been similar to that of China. It's main contents consisted of Chinese literature and practice of confucianism. It's objectives had been the education of selected men of ability, most of whom were the offspring of the high class. The education contents after the civilizational period had been gradually modernized for the purpose of westernization. 2) The changes of students' headgear. They had worn the Nakwon of Julpoong style (折風形羅冠) in the Sam Kuk period. They had worn Bok-Doo in the unified Silla dynasty, and Sadaimoolla-Kun (四帶文羅巾), Pyungjung-Kun (平頂巾) and Pyungjung-Dookun (平頂頭巾) in Koryo dynasty. They had worn Yoo-Kun (儒巾), Bok-Kun (福巾) in Yi dynasty. The noticeable distinction under Japanese colonialism had been the custom uniformity from headgear to footwear. Middle school educatee had worn round cap and professional school and college educatees had worn square hats.

This study is the investigation of dressing the deceased Kings and the King's robes in the coffin in the Yi Dynasty of Korea. The Authentic Records of the Yi Dynasty and the Diaries of Sung Jung Won (承政院日記) are mainly referred to as the research materials. The Concrete contents are the robes of the 20th King Kyung long (景宗 : ) to the 23rd King Soon Cho(純祖 : in the Yi Dynasty. As the result of the study, the kinds of the robes in dressing the decreased Kings and the Kings' robes in the coffin are more than forty. The kinds of textile fabrics are about fifty-seven, the kinds of colours of textile fabrics are twenty-nine. All the kinds of costume-from the Kings' ceremonial robes to the Kings' ordinary robes are generally collected, and these kinds of costume are of help for the study of the costume history in the Yi Dynasty. In this study I intend to end in presenting the research materials, and in the later study I have a mind to study each costume in the concrete.

The costume of any nation is an attribute of a culture. This study concerns chinese and Mongolian costume''''s ''''collar'''' form according to the observation of some reports about import folk materials and the pictures of the genuine objects, the author has investigated and rearranged them focusing on 13th Century''''s. 1. Traditional OverCoat or National costume on the poing of won dynasty in china such as Jacket, Coat, Mantle for making classical matching color, lacing, pearl pieces, and all costume shall be properly decorated and disigned. The example, Chinese Women''''s Gown and Double Jacket, on top of alignment of plaid, focus shall be placed on chinese classical form and color-matching, such as flowers and bireds, butterflies, made wishing ornaments, which shall be either hand painted or embroidered on collars, fronts, sleeves openings, and lower portion of gown. 2. Mongolian Costume, the stone status of a person, are seen at the territory of the Republic of Mongolia was a powerful country of Asia. So during the Mongolian Empire a lot of Missions from many countries came to kharakorom for establishing official relations between Mongolia and a country represented by mission. In particularly, the costume of mongols on the point of Chinggis khan Empire which the upper clothes in cluded ; a several kinds of the Caftan as compared with in Korea as to material (Silk caftan, Cotton Caftan, Fur Caftan) with closing to the right due to overlapping and Stand-up-Shawl Collars will pancho style & Round or V Neckline. 3. As compared with in Korea it is said that this a sort of Simui was brought in prior to the middle of Koryeo dynasty. Korean Simui system was complied with chinese system through confucian domestic behaviour. This was respected for court dress of confucian scholars, as it was, Chumri can ordinary dress of schloars) and Hakchangui ( a uniform of confucian student). Generally its form or shape of the outer lapels of Korean jacket were used together Squar-Tray-Collar. In late Yi-dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. And so the Traditional costume''''s outer collar of Jacket and OverCoat became small while the width and length of breast-tie became large. The same thing as the form of the collar on these days had been appeared by the design method or adjust one''''s dress. Therefore the form of collar in the china and Mongolian Traditional OverCoat & National Costume is fix arranged according to Stand up Collar, Without Collar, Clothing to the Right, Central opening, Horizontal Row of Button with Round or V Neckline and so on.

The results of the researches in the wig and the Boyo are as follows. The wig is to be classified into Bu, Pyun, Chah, Cheh, and kwik, Bu is an ornamental hairpin used by the empress, and it is decorated with Boyo. Pyun is a wig made of braided hair. Chah is made of Bal which is put together by its lenath, and it was also called Picheh or Pisuck. It is made, one by one, of hair of the convicts and the low-class people. 초도 has a meaning of toupee, and it is used to look beautiful with its thick black hair. Kwik is a wig made of hair as if it is weaved out of thread, and it is rounded with a wire. In ancient times, it was also called chah, Pi, or Pi People wore different wigs according to their class and the use, in order of Bu, Pyun, and Chah. There are remains of the Han Dynasty. Boyo, just like the wig, was originally a custom of the northern nomadic tribes which had been introduced to the later Han Dynasty. It is also called Cho Song and has a different meaning from the Boyo attached to a crown before the Han Dynasty. It became much more beautiful in the Which in period. Boyo gained its popularity by the women in Tang Dynasty, which is due to the influence by the customs of the western Ho tribe. The name of hairstyling using wigs in each period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its properity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found. times, it was also called chah, Pr, or period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing, it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its prosperity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found.

Jik-Ryoung was originally desinged to be worn by lower-class people in the reign of King Woo(A.D 1387, Goryeo) when official dresses and headgear were redsigned according to Ming's (明) style. It was observed that Jik-Ryoung was the same Po(袍) as Dan-Ryoung(團領) except its straight collar. Nowadays we can find through documents and original forms of Jik-Ryoung itself that Jik-Ryoung prevailed from the beginning to the end of the Yi Dynasty. Lower class people wore this coat until King Sejo(世祖), but from that time the Jik-Ryoung could be worn only by the Noble class as street clothes and home wear as well. Middle class people wore this coat as an office wear. Its style had changed from narrow sleeves and Moo (무, a reinforcing cloth strip) at the beginning to widers and Moo after the middle years of the Dynasty and finally fixed its style to sewing upper parts of Moo together. While red, white, and blue were the common colors, silk, hemp, cotton, and ramie were preferred materials to be made of.

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one''''s status and show off one''''s privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one''''s economic position. The button gives a Very good picture of what one''''s life was then. Precious button with gold, silver, and other jewels is an index to one''''s property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person''''s birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one''''s company shows one''''s community in figures or pictures, that is, this button is used as a symbol one''''s community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees'''' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

This is a report of author's stay in the U.S. as an exchange scholar. During her stay from Dec. 1979 to Dec. 1980, she participated in costume studies at Pratt Institute, New York City and looked into materials of North Asian historical costumes. The author notes that the curriculum of costume studies in the U.S. place weight upon costume history, e.g., the master's program in costume studies of New York University requires 18 points in history courses out of 54 points required for the degree. The author also notes the leading role of the Costume Institute, the Metropolitan Museum of Arts in performing research works for the studies. As to the study of North Asian costumes, the author's work in the U.S. has been somewhat disappointing. She points out difficulties for a Korean researcher to access to basic materials which are scarce outside of China and Russia. She asserts, however, the comprehension of the history of North Asian costumes as a whole is essential to understand the characteristics of ancient Korean costumes. The author insists the costume history courses in Korean colleges are not appropriate as a apart of costume studies. Noting the costume education in the U.S. clearly aims at the training of costume professions, the author proposes the objective of costume education in Korea be redefined, and the teaching of "History of Korean Costumes" be reconstituted as to be suitable for it.

The Clothing expresses people''''s desire of beauty most directly of all cultural inheritances, and it teach us how the human culture has changed and developed. In this study researched the history of buttonholes which make the clothes more functional and beautiful. Buttons and Buttonholes is one of detailed elements they used as a fastener or as a decoration on clothing. Button have been used since ancient times, in early times long before buttons were used as fasteners they had significant decorative and symbolic value. In ancient times, clothes fastened with pins, brooches, fibular and ties. In medieval Europe, it was not until the 13th century that they used the button in functional use, and then Chong Ryung-Lk was introduced from orient, and they became popular as fasteners on clothing during the 13th century when fitted clothes replaced loose garments. Garments were laced together or fastened with buttons, until buttonholes were invented in the 13th century. But as early as the 14th century it appears that someone discovered that a loop slipped over a button, or button pushed through a slit in the cloth, would make a good clothes fastener. Many buttons made during the modern ages were convex medallions set in metal rims and decorated with partraits of famous men and women. During the modern ages, buttons, with ligh-ographed pictures, covered with celluloid of glass were popular. In the 19th century, the mass production by machine made people use the button easily, and many different material of button easily and many different material of button was made. With the begining of the 20th century. the development of plastics led to various and functional buttons. The type of buttonholes also became various, as bound buttonhole, Tailred buttonhole, Worked buttonhole, Loop buttonhole and so on. The button has many forms which were imitated by nature, or made geometrically and the appearance of the button from behind is classified by what has holes and what has holes and what has a shank, and I also classified the kinds of button by the quality of the material design and use. Like this, with the passing of the time buttons and buttonholes have changed in appearance with the change of clothes, and they have standed for something meaningful as well as fixed the opening and made clothes more beautiful.

The purposes of this study were to 1) classify the contents of clothing image preferences, 2) find out the relationship among personal values, preferences for clothing image and clothing design, and 3) investigate the relationship between clothing image preferences and clothing design preferences, Questionnaire was comprised of three section. The clothing image preference measure was included 36 bipolar adjectives of 7-point scales. Clothing design preferences measure was included the items of patterns, colors, and textures. ''''Survey of Personal Values'''' by Eung-Un Hwang and Kyung -hye Lee was used for measurement of 6 values : practical mindedness ; achievement ; variety ; decisiveness; orderliness; and goal orientation. Samples were 288 college women. The data were analyzed using pearson''''s correlation coefficient and factor analysis. The results of the study were the following. 1. Four segments of clothing image preferences derived by factor analysis : F. 1 ''''progressive-conservative'''' ; F.2. ''''casual-formal''''; F.3 ''''plain-splendid''''; F.4 ''''masculine-feminine''''. 2. In relation between personal values and clothing image preferences, 1) achievement was positively related to the preference of progressive image 2) variety was positively related to the preferences of progressive and masculine image, and 3) goal orientation was negatively related to the preferences of the progressive and masculine image, and positively related to plain image. 3. In relation between personal values and clothing design preferences, 1) practical mindedness was positively related to the preference of black, 2) achievement was positively related to the preferences of blue and such realistic pattern as floral, 3) variety was positively related to the preferences of geometric or abstract patterns and thick or transparent texture, and 4) orderliness was negatively related to the preferences of abstract pattern. 4. In relation between clothing image preferences and clothing design preferences, 1) progressive image was positively related to abstract pattern, red, blue, and black, 2) casual image was positively related to geometric pattern, green, blue, and negatively related to red and soft rexture, 3) plain image was negatively related to lustered and transparent texture, abstract pattern, red, and black, and 4) masculine image was negatively related to lustered, thin, soft, and transparent texture, floral and dotted patterns, red, orange, and yellow.

In this paper, dyeing properties and colorfastness of ramie, flax, and cotton fabrics for direct dyes were compared. When dyed in a same liquor-goods ratio, in case of green dyes, colorfastness to light was similar for three fibers but in case of red dyes, cotton had a lower level. For colorfastness to laundering, there fibers were similar and three were no consistent differences. The degree of stain about white cotton fabric was higher in case of red dyes and it showed the difference of dye''''s properties. The degree of stain about white wool fabric showed the highs resistance or stain and little stain was seen. This result represented that the dyes. used were proper direct dyes for cellulosic fibers. For the difference of shade, the cotton was consistently brighter and the shade of ramie was darker than that of cotton and flax. This might mean that optical effects arose from the comparatively large cross-sectional size of the ramie fiber and its highly oriented structure.

From the mid-1980s ''''91s, remarkable Ethnicism and Primitivism in the Europe fashion trend could be represented as an exotic taste longing for secenery and emotion of non-europe area in the West. These phenomenon could be found out in connection with Acculturation, which means when two different cultures or more were contacted they were identified or merged in process of diffusion and change of them. This point of view was the culture anthropologic one that make a comparison and analysis of sameness and difference between cultures. The purpose of this study was to illuminate exotic taste represented in costume in the cluture-anthroplogic aspect, to compare with beauty of costume that each culture of costume and the meaning of the times due to those differences. an aspect of the exotic taste and character in the western costume that was inspected by dividing into ''''Primitivism'''', ''''Oriental element'''' and ''''the element of a national costume in the East European bloc '''' were as follows; First, Primitivism had something in common with what was pursued in the trend of Modern Art, through the late 19th century to the early 20th century. In fashion fettered by technique, the creation expressed in a free was and showed simple beauty of costume. At the same time, pure emotion expression, creative power and witty strong expression give the cognition of transcendency breaking the routine and the cognition of complexity of an included conception. Those are garments showing not only the primitive thought and mysticism but a fancy, an abstraction, and a life. Colors and accessaries which described nature and matched simple costume composition to the expression of various material or patterns transmitted the image of the primitive strongly. Second, "Drental element" which had an effect on western custome historically in a long time had outstanding luxurios adornmental beauty of custome. Extending from the Arab stated India, China, Korea, Japan, each national costume with a gay national culture became one of motif. Various ornamental factors expressed on Trapez Line, Sime Line and Drape, or Raied style, which did not restrict the body. Those were not only functional Easy Look, but were also satisfying human''''s ornamental desire. Third, national factors in the East European bloc are theme that begins to be embossed in the late 80''''s. In view of a political change and cultural situation with a double character of Europe and Orient, it was estimated that national factors have great importance in fashion. Item concerned with new concern appeared at Autumn & Winter collection. It shows elegant and graceful beauty of costume by adding a fur or jewel to simple form. These national factors in the East European bloc are simple form, but shows the difference in more cubic formation than form expressed in Primitivism or Oriental factors Exotic taste appeared form 80''''s to 91''''s, is thought to create an forgotten romantic emotion and traditional fashion

The Purpose of this study Gerber company AM-300 system of the automatic system of Producing the original form the automatic system of Producing the original form of "Jogori(a Korean Jacket)'''' and Grading by the usage of computers and find out its efficiency. In the result, the auther has found out the following facts and became confident on the facts; The AM-300 program of the automatic system enabled to produce the original form of ''''Jogori'''' and Grading fitting in a short time and definately, and which indicated that the automatically producing system of the original form of ''''Jorgori'''' and Granding is efficient. Even in the aspect of education, it has been acknowledged that there is necessity of using computers, the accumulation of techincs and technology based on traditions by cultivating professional designers, and computerization so that the composition of ''''Hanbok'''' (Korean clothes) should be rational and scientific. In addition, advertisement and education on the traditionalism and superiority of ''''Hanblk'''' are indispensable and absolutely necessary. Also, to succeed folk costumes rightly, the usage of computers is thought to be a way to effectiveness. So far in the study, only the automatic system of producing the original form of ''''Jogori'''' and Grading through computers is emphasized on, however in the future, such an automatic system should be continuously supplemented, studied on and developed even in other various fields such as in pattern making, design, products planning, etc..

The purpose of this study is to analyze the costume in The Goddess Abides of Pearl S. Buck by applying "Dramaturgical Analysis" of Erving Goffman. The frame of analysis is the dramaturgical conception of Goffman that he expressed in The Presentation of self in Everyday Life (1959). Among the conception, I analyzed by applying ''performance'', ''technique of impression management'', ''region and region behavior'' which can be used for studying and costume behavior. The following is the summary of my study. First, the performance means the performer''s behavior and the procedure of impression management if face to fact interaction, which includes personal front and setting. Setting is mainly a house on the Mt. in Vermont. The time is Winter. The personal front includes appearance and manner. actors and audiences form impression through persional front. And Istudied the performance of the actors (or actress), Edith, Jared, Edmond, Edwin, Amelia, June. As for technique of impression management, I cold observe that a varieth of that were being used, such as the most general one that Edith wants to look beautiful by making god appearance, or she sometimes try not to look beautiful And when Edith meets Jared, sometimes she changed her clothes, but other times she doesn''t do that. As for region and region behavior, there appears the distinction of region and a lot of expressions about clothes related to the distinction. I could observe the expressions showing the movement from front to back and from back to front. Especially I could observe the behaviors that can be occured only in back region in everyday life, that is bathing, changing clothes, making up, checking their appearance before the mirror. Like above when I analyzed The Goddess Abides of Pearl S. Buck by Goffman''s Dramaturgical analysis, I could find out that the theory was very useful to the analysis of the costume behaviors of the characters.

Woman in Choson era had various kind of accdssories like rings, ear ring, ornamentak hairpins and so on. Among them their favorite was the Norigae, the pendent trinket. With the embroidered ornament at its center, beads and knots were attached to the upper and lower part, and it was hung with a tassel. It was carried on the string of the Chogori. norigae oreginated in waist string of Three Countries era(Sills, Paekje and Koguryo) ; had been changed with the development of fashion, embroidery and the influence of Buddhistic culture. The differences between Embroidered Norigae and Norigae are following. If the ornament at its center is made of such jewels as gold, silver, jade and the like, it is called Norigae. But if the ornament at its center is made of the embroidered Norigae. Such a Embroidered Norigae in which perfume was contained, was as a perfume box or a perfume bag and was carried on the strings of Chogori by Danjak(single work). The Differences between ancient Embroidered Norigae of late Choson era and modern Embroidered Norigae are Following; 1) The type of main body-the embroidered ornament at its center was mainly embroidered with the shape of animals in both of ancient Embroidered Norigae was usually formes like a bat and that of modern Embroidered Norigae like butterfly. 2) plants were adapted as the main design of ancient Embroidered Norigae, but plants and animals as that of modern Embroidered Norigae. 3) The colors of the background and the design are usually red in both ancient and modern Embroidered norigae. 4) The tassels of ancient Embroidered Norigae were mode in the shape of srick and a strawberry. but the tassels of modern Embroidered Norigae were mainly made in the shape of a stick. 5) Nowadays the beauty of external form is considered more important while the symbol of main body was considered more important in Choson era. 6) The role of Thidon in the composition of Embroidered Norigae is declined and a lot of main bodies are used in modern Embroidered Norigae. 7) Modern Korean people are apt to choose Embroidered Norigae depending upon the design of main body and the traditional Korean beauty. 8) Modern people who desire to get new thing, try to make the design of main body various. As their cognition of Korean tradition is of the increase, the restoration of ancient Embroidered Norigae to its original form has been accom